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Hans Zimmer's NO TIME TO DIE (2021)


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Well this news has confirmed that the time to die is in fact now.

Spinmeister at FSM created a custom cover...  

*Zimmer uses trumpets and guitar*   Zimmer - "I just wanted to do something unique. Something never heard before in a Bond film."

18 minutes ago, Jay said:

The track TITLES are real, they've been on all the digital retailers since it became Friday in each country

 

But none of those sites have the TIMES shown, so I dunno where the FSM poster got the times from

The times are on the iTunes store now (when looking on the Music app on my Mac) and they are accurate.

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The theme was obviously written by John Barry. Monty Norman literally sued newspapers for saying that Barry wrote it even though Barry swore (probably under oath) that he wrote it. Norman seems like a POS.

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Late to the party, but I know for a fact (though I don't have evidence) that Don Davis ghost-wrote cues for Horner on We're Back! and that he wrote "The Claw" from Randy Newman's Toy Story 3.

 

If you think about it, Horner didn't really need to use ghost-writers considering how much music he borrowed and re-used xD

 

Also, I think there's a factor we're not taking into consideration here. The production times have changed greatly in the last twenty years. Everything's much faster now, there's usually no time for a single composer to write 2-3 hours of music (not counting the re-writes) and additional composers are a necessity these days, for better or worse. Not everyone can have a luxurious schedule like Williams on the last 3 Star Wars... And Morricone didn't (most of the time) write to picture and he wrote a lot of stuff based on the same material with very little variation, so that's why he could do so much material in a small space of time. 

 

This is why -I believe- Williams started to write less and less for film. The breaking point seems to be The Lost World, where digital editing elements start to shape the picture and allow the filmmamkers to keep editing and editing the movie until the last minute... Take The Hobbit, for example, or the disastrous Cats from last year, where they literally kept editing until *hours* before the premiere. You can't expect a single composer to keep writing and re-writing all that material by themselves. It's insane.

 

And even with a luxurious timetable, like Williams had on the Star Wars sequels, they kept chopping and chopping the score to bits, particularly on the last movie. Why even bother making Williams re-write all that material if you're not even gonna use it?

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2 hours ago, PuhgreÞiviÞm said:

Was it?

You know the answer to that one.

It's a subject that has been discussed at JWfan, before, and I won't bring it up again, suffice to say that, as far as am concerned, Barry wrote at least three quarters of the James Bond Theme.

The man who got sole writing credit for it, in my opinion, shouldn't have had.

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1 hour ago, Drew said:

The theme was obviously written by John Barry. Monty Norman literally sued newspapers for saying that Barry wrote it even though Barry swore (probably under oath) that he wrote it. Norman seems like a POS.

 

It's more complicated than that!  But yes Barry at least deserves a co-composing credit for the additions he made when arranging it for the first film.

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37 minutes ago, Muad'Dib said:

Late to the party, but I know for a fact (though I don't have evidence) that Don Davis ghost-wrote cues for Horner on We're Back! and that he wrote "The Claw" from Randy Newman's Toy Story 3.

 

 

Do you think Davis co-wrote parts of Balto for Horner as well? Parts of "Grizzly Bear" sound like The Matrix, and there's also a motif later in the score that reminded me of Newman's Buzz Lightyear theme for Toy Story 1 (which Davis co-orchestrate).

 

I wouldn't be surprised if that was the case, considering how many (great) scores Horner wrote in 1995.

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12 minutes ago, Edmilson said:

 

Do you think Davis co-wrote parts of Balto for Horner as well? Parts of "Grizzly Bear" sound like The Matrix, and there's also a motif later in the score that reminded me of Newman's Buzz Lightyear theme for Toy Story 1 (which Davis co-orchestrate).

 

I wouldn't be surprised if that was the case, considering how many (great) scores Horner wrote in 1995.

 

Could be, thought I'm not certain at all. Balto sounds like a good effort from Horner to my ears, like he was actually invested by the setting and story. But he could have handed the more silly cues to someone else and focus on the more interesting material, like the white wolf cue -which to this day remains to me as one of the highlights of Horner's carreer. 

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Orchestral arrangement of the song

 

 

It seems Zimmer had nothing to do with it - the YouTube description says

 

Quote

Provided to YouTube by Universal Music Group

No Time To Die (arr. Orchestra) · Royal Philharmonic Orchestra

No Time To Die (arr. Orchestra)

℗ 2020 Universal Music Operations Limited

Released on: 2020-10-02

Studio  Personnel, Mixer: Simon Rhodes
Orchestra: Royal Philharmonic Orchestra
Conductor, Associated  Performer, Recording  Arranger: Andrew Skeet
Studio  Personnel, Recording  Engineer: Rupert Coulson
Studio  Personnel, Mastering  Engineer: Tim Debney

 

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11 minutes ago, Jay said:

Orchestral arrangement of the song

 

 

It seems Zimmer had nothing to do with it - the YouTube description says

 

 

 

It's from this album:

 

http://filmmusicreporter.com/2020/10/01/bond-25-tribute-album-announced/

 

It contains re-recordings of themes from various Bond movies.

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41 minutes ago, Jay said:

The film has been pushed back to April 2, 2021, meaning the OST album will be pushed back as well.  

 

I wonder if any reviewers already got the album early

 

It's not a guarantee, but I would assume the same. Seems a little uncoordinated to start the merch hype train hours before you delay the film.

 

I hope they continue with the November soundtrack release.

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1 hour ago, BLUMENKOHL said:


You can’t provide analysis if you say there is nothing to analyze!

 

If you hate it, say you hate it.

 

You've said I hate it. When that's not what I've said at all. I like it. It's just that it's nothing new, so there's not much to say about it.

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5 hours ago, GiacchinoCues said:

 

You've said I hate it. When that's not what I've said at all. I like it. It's just that it's nothing new, so there's not much to say about it.


Just because something isn’t new doesn’t mean there’s not much to say about it. 
 

As you proved by saying some interesting things about the origins of the track!

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Someone posted these comments on the HTTYD thread:

 

" Powell has his own studio and assistants...

...and he used SEVEN orchestrators on HTTYD...

....plus arrangers and MIDI programmers....

And despite all these ' handicaps' , he produced a masterpiece.

Interesting."

 

Not sure what his point is?

 

😁

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I don’t think I’ll ever understand the appeal of ghostwriting. If I were ever credited for work I did not write, that kind of disingenuity would probably haunt me. If I were the one doing the ghostwriting, I’m sure I’d eventually feel some resentment that someone else was benefiting from my creativity. And if I were the one paying for it (either as the client or the wider customer base), I’d feel cheated. 

 

(These feelings would only apply to the composition of music, mind you. Clerical/technical tasks like orchestration fall into a separate category where anonymity seems less objectionable because such tasks seem to have a roteness about them that serves the needs of the creative talent and not the other way around.)

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The biggest stunt that’s been advertised to death in the endless promos for this ill-fated film and that’s the best Zimmer could come up with. No hint of the Bond theme...but plenty of Dunkirk siren wailing. Why’d it take 3 months for him to score this? 3 days should have done it. At least the delay means there’s time to bring Arnold back. Oh, and I’m especially pissed at Zimmer’s PR machine on this - all the talk about being a huge Bond and Barry fan...pig’s arse. Sure, it’s 30 seconds but I’ve given Hans the benefit of the doubt on all of his 2010+ output and Bond is too precious for him to slap his ego all over.

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No matter what the end result is: I'm still glad it's Zimmer and not Balfe. Sure, "what's the difference," you could say. But given how much Fallout still leaves a bit of a pit in my stomach, I'm sure NTTD will at least be something noteworthy within the presumed studio demands to make RCP Bond.

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